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For our last discussion, I would like to turn a critical lens on Rhys’s novel by examining an alternative portrayal of the formerly enslaved people in Jamaica in the fraught post-emancipation period in which the novel is set. Please read “In Celebration of Emancipation” by the Poet Laureate of Jamaica, Lorna Goodison. Then, since I am particularly interested in Rhys’s portrayal of the black women in Jamaica and Dominica, I would also like you to read this short but haunting poem “So Who Was the Mother of Jamaican Art”:She was the nameless woman who createdimages of her children sold away from her.She suspended her wood babies from a roperound her neck, before she ate she fed them.Touched bits of pounded yam and plantainsto sealed lips, always urged them to sip water.She carved them of wormwood, teeth and nailsher first tools, later she wielded a blunt blade.Her spit cleaned faces and limbs; the pitch oilof her skin burnished them. When woodwormsbored into their bellies she warmed castor oilthey purged. She learned her art by breakinghard rockstones. She did not sign her work. How does Rhys’s portrayal of the people and tensions in Jamaica during the long process of emancipation compare with Goodison’s? Are there parallels between the way Bronte portrays Bertha in Jane Eyre and Rhys portrays, say, Amelie, Hilda or Tia